Petticoat with sleeves, 1560

Museo di Palazzo Reale, Florence, Italy

Moda a Firenze, Landini and Niccoli

On Garbing A Gentlewoman

An Introduction to 16th Century Florentine Fashion

Kataryn Mercer

kataryn@

kitsclothingcollection.com

www.kitsclothingcollection.com

Overview

This class is an overview of the items of clothing worn by gentlewomen during the 1560s. The

information presented is focused on this time period and does not delve into previous or later styles

which may have evolved into or from these garments. I have attempted to cover the items of clothing

from the bottom to the top most layers, including two different styles of overgown which were popular

during this period.

I Calzoni (Drawers)

The calzoni are an oft debated item. There exists records of noblewomen with luxurious versions,

and examples of courtesans wearing drawers beneath their gowns. There are even multiple extant pairs

of calzoni, assumed to belong to women. There is not, however, any solid evidence that women of all

stations wore calzoni regularly. Moda a Firenze states that Eleonora di Toledo owned a pair of calzoni in

crimson taffeta, then suggests that calzoni were “not common and their use was generally frowned

upon because they were associated with prostitutes” (Orsi-Landini and Niccoli 133).

La Camicia (Smock)

The camicia was typically made of white linen with black, red or white embroidery. Necklines were

typically low to reveal the chest, and either rounded or squared. The squared neckline with embroidery

was sometimes visible above the neckline of the sottana. The high necked camicia was out of fashion at

the time of the square necked sottana, but may have been in use with the high necked veste, in place of

a partlet, or as a night shift (Anea).

Le Calze (Stockings)

Calze were knitted, knee height, with different patterns up the legs and around the knee. Eleonora

di Toledo may have initially imported stockings from Naples, but by the 1560s, there is evidence of

knitters in the city who were producing stockings (Orsi-Landini and Niccoli 146).

Il busto (Stays)

There is also little evidence of stays or corsets during this time frame. Eleonora di Toledo was buried

in a set of velvet stays in 1562, so they obviously exist, but the questions that remain have to do with

form and function. Eleonora’s stays were made of layers of stiffened fabric, not whalebone or other

stiffeners. Moda a Firenze suggests these stays are designed for warmth, rather than shaping (Orsi-

Landini and Niccoli 131).

La Gonna (Underskirt)

The gonna is worn beneath the dress to give fullness to the skirts. They can also be worn for added

warmth about the legs. It is conjectured that the gonna would have a hem stiffened with felt or other

fabric, similar to the sottana and overdresses (Anea).

La Saccoccia (Pocket)

The saccoccia is a loose pocket on a ribbon or waistband (Wake). The saccoccia was accessed

through a slit in the skirt, typically aligning with the bodice lacings. The half-round shape was popular,

but the saccoccia was also made in other shapes (Anea).

La Gorgiera (Partlet)

The gorgiera was initially a piece of fabric draped over the chest, but became a garment that was

tied beneath the arms, often with a collar (Anea). Some partlets provided modesty, but most were sheer

or netted and did not hide the chest. Gorgieri were frequently decorated with ribbons, pleating and

embroidery (Orsi-Landini and Niccoli 120). While the flat, draped versions remained in fashion through

the 1550s, the collared type of partlet became more popular, especially as the veste, with its high

collars, became prominent. As the collars became taller, the partlet developed a ruffle along the edge,

to appear from within the collar of the veste.

La Sottana (Underdress)

The sottana began life as a dress that was typically worn beneath another gown, sometimes

translated as petticoat. However, from the 1540s through the 1560s, the sottana was frequently worn

without an overdress (Orsi-Landini and Niccoli 77). The sottane of these decades typically feature a low,

square neckline and lowered waist, coming to a point at center front.

Lacing at the side-back closed the bodice, though lower class wear generally used side lacing. The

skirt during this period was tailored to create a conical silhouette, with closely placed pleats at the hips

and back of the sottana (Orsi-Landini and Niccoli 85). The sottana also featured a stiffened hem, to hold

the skirts away from the feet, decorated with embroidery or trim. There is frequently a tuck around the

lower edge of the skirt, as seen in the burial gown of Eleonora di Toledo and the red sottana at the

Museo di Palazzo Reale in Pisa.

While the bodice and skirt were fully attached, the sleeves were frequently detached and attached

with ribbons or buttons (Orsi-Landini and Niccoli 87). This allowed sleeves to be made separately and

either match or contrast with the sottana. The wardrobe of Eleonora di Toledo includes several

examples of sottane with matching sleeves, sleeveless sottane, and separate sleeves (Orsi-Landini and

Niccoli 200).

The vast majority of Eleonora di Toledo’s sottane were made of silk, particularly satin, damask and

velvet. A smaller number of her sottane were made of wool and other materials, however the Duchess’s

daughters used wool more frequently than Eleonora did (Orsi-Landini and Niccoli 90).

La Zimarra (Overdress)

The zimarra was a style of overdress worn by the ruling classes of Italy, generally from the 1540s to

the 1560s. Eleonora di Toledo was especially fond of this style of dress and owned 79 zimarre (Orsi-

Landini and Niccoli, 110). Moda a Firenze describes the zimarra as "an overgown of flowing line

characterized by special decorations and lacings: the 'Hungarian-style frogs', often although not always

mentioned along with the garment" (Orsi-Landini and Niccoli 109).

Zimarre can be made for summer or winter weather; the summer version was sometimes sleeveless

or with short sleeves (Orsi-Landini and Niccoli 112; Rosenthal and Jones 281). Otherwise, zimarre

typically had hanging sleeves decorated with buttons and worn open to show the sottana sleeves

beneath (Rosenthal and Jones, 229). A winter zimarra could be lined with fur for additional warmth, as

seen in Cesare Vecellio’s Matrona di Firenza which features an overgown lined with fur in body and

sleeves (Rosenthal and Jones 279).

According to Cesare Vecellio’s descriptions of contemporary clothing, zimarre frequently featured a

border along the front edges and bottom hem (Rosenthal and Jones 82). The zimarre were ornamented

with gold or silk buttons down the center front closure, as well as along the sleeves (Rosenthal and

Jones 299). These buttons were both decorative and functional (Rosenthal and Jones 285).

Eleonora di Toledo preferred satin and velvet for her zimarre, however, she did own multiple

overgowns made of wool (Orsi-Landini and Niccoli 112). The majority of the Eleonora’s overgowns were

in dark colors; there are only five examples of zimarre in white (Orsi-Landini and Niccoli 114). Many of

the zimarre recorded in Eleonora’s wardrobe are lined in taffeta, though some are lined in fur, such as

ermine (Orsi-Landini and Niccoli 223).

La Veste (Overdress)

Around 1555, the veste, known as a French style gown, became prominent in Florence. This dress

had a collared neck which was typically left partially open to the chest. The closure was positioned

center front, and was closed by buttons or hooks. The point of the bodice became shorter and closer to

the natural waist (Orsi-Landini and Niccoli, 96). Along with the open neck, the skirt was left open to

reveal the sottana beneath.

The sleeves were often short, little more than puffs or baragoni on the shoulders, with the sottana

sleeves visible beneath. Later, long sleeves came into fashion, which were left open, again to show the

sleeves of the sottana. (Orsi-Landini and Niccoli, 102).

Le Pianelle (Shoes)

The pianelle were platformed slippers, of which Eleonora di Toledo had over 50 pairs (Orsi-Landini

and Niccoli 143). The platform was made of a lightweight wood or cork, and the shoes themselves were

typically made of velvet, silk or leather (Classe).

Accessories

The final step in dressing involved donning accessories. This includes jewelry, aprons, gloves,

handkerchiefs, fans and a zibellino.

Jewelry typically consisted of a short strand of pearls about the neck and an elaborate girdle around

the waist. Earrings were pearl studs or teardrop shaped dangles. There also appears to be a type of

headband of pearls or other embellishments in many portraits.

The apron was an optional piece of clothing and was typically worn for domestic use. Aprons were

decorated with extensive embroidery and openwork. Gloves were used regardless of the season. They

were perfumed and could hold notes and other small objects (Orsi-Landini and Niccoli 168).

Feather fans were also common as an accessory. They could be made of ostrich or special feathers,

with an ornate, gilded handle. A zibellino was a fur, typically sable, with a decorated head, worn hanging

from the girdle. It could be gilded or contain precious gems and frequently wore a decorative collar

about its neck.

Resources & References

Anderson, Margo. "The Italian Lady’s Pattern Line." Margo Anderson’s Historic Costume Patterns. Web.

31 July 2015. <http://www.margospatterns.com/Products/index.html#italian>.

-Patterns for 16th century Italian undergarments and gowns.

Anea. "Articles and Galleries." The Anea Costumes. Web. 27 Mar 2014.

<http://aneafiles.webs.com/articles.html>.

-Articles about Italian Renaissance costuming, descriptions of clothing, and excellent image gallery.

Arnold, Janet. Patterns of Fashion: The Cut and Construction of Clothes for Men and Women, C1560-

1620. Macmillan: London, 1985. 40, 41, 102, 103, 104. Print.

-Pictures and pattern of Eleonora di Toledo’s burial garments.

Arnold, Janet, and Jenny Tiramani. Patterns of Fashion 4: The Cut and Construction of Linen Shirts,

Smocks, Neckwear, Headwear and Accessories for Men and Women C.1540-1660. Quite Specific Media

Group: Hollywood, CA, 2008. Print.

-Useful information on construction of undergarments, including some Italian examples.

Classe, Francis. Chopine, Zoccolo, and Other Raised and High Heel Construction. Web. 27 Mar 2014.

<http://aands.org/raisedheels/>.

-Shoemaker with tutorials and image gallery.

da Brescia, Katerina. "Research and Recreation of 16th C Florence" The Florence Files. Web. 31 July

2015. <http://katerina.purplefiles.net/FlorenceFiles/Gateway.html>.

-Information on recreating Florentine garments.

Orsi-Landini, Roberta, and Bruna Niccoli. Moda a Firenze 1540-1580: Lo Stile di Eleonora di Toledo e la

sua influenza. Mauro Pagliai: Polistampa, 2005. Print.

-Detailed analysis of 16th century Florentine Fashion with excellent pictures.

Wake, Anabella. “Fashion and Style in Renaissance Italy." The Realm of Venus. Web. 27 Mar 2014.

<http://realmofvenus.renaissanceitaly.net/>

-Images of extant garments, and lots of examples of recreations.